Bee Delores

“Bury the Devil,” directed by Adam O'Brien (“Mom”), follows an impressive one-take approach and cleverly sets its shocking exorcism story in one location. The film proves to be both a marvelous showcase of horror craft but also for the actors’ powerful abilities.

With her debut feature film, “Night Nurse,” writer/director Georgia Bernstein ideas, themes, and approaches about power dynamics into a psychosexual thriller that gets weird and freaky–but not as weird and freaky as it could and should have been.

“Plankenstein” is a one-way trip to dulls-ville, packed with mediocre jokes about tuna fish. When the ribbing does land, it’s so few and far between that it’s like you’re watching a different (and better) film.

Clocking in at a brisk 75 minutes, writer/director Matthew Mahler’s “Protanopia” demonstrates a real understanding of horror and what makes the genre so damn frightening. Mahler and his creative team use the meager budget to their advantage, and the story feels both grounded and wildly fantastical,

You’ll soon realize that many of horror’s biggest titles have pop songs in them as part of a soundtrack, playing on the radio while characters drive through the neighborhood, as needle drops to contrast the onscreen happenings, or something else entirely. The decisions filmmakers make have often led

Horror has also offered some pretty iconic queer characters. Whether we’re talking about Jesse in “A Nightmare on Elm Street 2: Freddy’s Revenge,” Glen / Glenda in the Chucky franchise, or Mindy Meeks-Martin in Scream 5-7, queerness is now celebrated in horror by offering deep dissections of the que

With “The Troll,” writer/director Brianna Lee fatally flounders in an ocean of Influencer Horror where there are simply superior stories being told.

With his new film, “The Killing Moon,” writer/director Daniel Bogran upends every expectation, reworks conventions and tropes, and delights the viewer with a dangerously twisty story about deception, the entitled white man, and the lengths we’ll go for the people we love.

Five years ago, the “Fear Street” trilogy was the cinematic event of the summer. Leigh Janiak’s films crashed through the streaming noise.

It’s hard to imagine that the guy who played Justin Redman in “Dodgeball: A True Underdog Story” would become such a horror legend. Justin Long has always dabbled in horror, but within the last four years, he has carved out an impressive repertoire of essential titles.

Nearly a decade into her horror career, Samara Weaving has cultivated an impressive resume with horror classics and cult favorites. After looking through her credits, we’ve extracted her six best horror-based performances of her career so far.

Two decades later, Scott Glosserman's landmark 2006 meta-slasher, “Behind the Mask: The Rise of Leslie Vernon,” carries a greater significance than you might realize.

Bee Delores explores the historic legacy of Black artists being denied their due, and how that tradition is carried forward after “Sinners” lost out on the Best Picture award at this year’s Oscars.

The result is a powerful glimpse into the unique experience Asian-Americans endure. Amy Wang’s “Slanted” is not made for white people, but white people can learn a lot about white supremacist and patriarchal systems that are only built for one race and one gender.

In this Scary Shorts Showcase we check out “Keep Coming Back” on Crypt TV, “Charlie Is Not A Boy,” and “The Human, Will,” which will both premiered at Slamdance in February!

Bee Delores celebrates the 40th anniversary of "April Fool's Day" and how it signaled the post-boomer crash out to come!

Bee Delores unleashes 10 found footage films that aren’t just underrated, they’re underseen and underappreciated!

Bee Delores hears the death call in “Whistle” and isn’t sure if they like the sound. In theaters on February 6, 2026, from Independent Film Company!

Bee Delores shares their 10 essential folk horror films you have to watch: "The Severed Sun," "Mother of Flies," "Witchhammer," "Eyes of Fire," and more!

A struggling author attempts to create their latest story, fictional monsters come to bloodthirsty life and begin stalking and murdering those around them. It’s a fairly easy setup, but can it deliver appropriate scares and payoff? Alexandra Spieth’s “I Know Exactly How You Die” tosses its proverbia